The Art of Terror: How Jaws Created the Summer Blockbuster

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"You're gonna need a bigger boat." That improvised line perfectly captures the unexpected enormity of Jaws' impact on cinema history. Steven Spielberg's 1975 masterpiece didn't just terrify audiences it fundamentally transformed how movies are made and marketed.

What strikes first-time viewers most powerfully is how little we actually see the shark. Technical limitations with the mechanical model (nicknamed "Bruce") forced Spielberg to imply the shark's presence through John Williams' iconic two-note theme, underwater camera angles, and floating barrels. This accidental restraint created unbearable suspense that horror directors still emulate today. The film demonstrates that what audiences imagine lurking beneath the surface is far more terrifying than any special effect.

Beyond revolutionary filmmaking techniques, Jaws delivers rich character development through its central trio. Police Chief Brody (Roy Scheider) battles water phobia while trying to protect a community that prioritizes tourism dollars over safety. Marine biologist Hooper (Richard Dreyfuss) represents modern scientific approaches, while grizzled shark hunter Quint (Robert Shaw) embodies old-school experience and obsession. Their conflicting personalities generate tremendous dramatic tension, particularly during Quint's unforgettable USS Indianapolis monologue a scene that elevates the film from thriller to profound meditation on humanity's relationship with nature.

The production's legendary difficulties going over budget, equipment failures, and seasickness nearly derailed Spielberg's career. Instead, these challenges forced creative solutions that made the film more effective. Jaws became the first true summer blockbuster, creating the release strategy and marketing approach studios still follow today.

Whether you're revisiting this classic or experiencing it for the first time, you'll be amazed at how effectively it builds suspense, develops characters, and delivers thrills without relying on the special effects crutch of modern blockbusters. Just remember if you're headed to the beach this summer, maybe stay on the shore.

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Episode Transcript

Dylan (00:00):
Joe, would you pass the popcorn man?
We should have made some, thatwould have been good.
So this week we're diving intothe movie that made everyone
afraid of the water.
It's a great white.
A what?
the way that he delivers thatline is just so funny.

Joe (00:44):
so this is actually your first time watching Jaws, right?
Yeah, I've never seen it before.
So like have you?
You were exposed to maybe somepop culture, maybe some
references, but you've neverseen the whole thing.

Dylan (00:58):
Right, like I mean, everybody knows the iconic like
film score Dun dun Dun dun Yep,but like you know, know that's
all I knew of it and so, yeah, Iloved like how much in the
movie that they actually likeused that flowing throughout it
right, so quick plot rundown.

Joe (01:22):
Uh, if you haven't seen Jaws, it basically goes from a
shark terrorizing the town.
The mayor doesn't want to doanything about it.
The chief of police wants tosave people, but he gets the
let's see, how would you say itthe wrong end of the stick?

Dylan (01:43):
Yeah, he gets the short stick on that one wrong end of
the stick.

Joe (01:45):
yeah, he gets the short short stick short in his stick
on the whole.
Thing uh famous slap scene isin there, uh from a mom, and
then it becomes, uh, a team-upmovie, and then it becomes an
adventure at Sea movie and theyslay the dragon.

Dylan (02:09):
Yep in one big bite.
But yeah, joe, I had no ideahow much suspense that they were
going to build in without evenshowing the shark.

Joe (02:21):
Yeah, yeah.
So, uh, I guess we can get intothis part is that the famous,
you know, the shark didn't workfor the whole movie, really, and
so their whole, uh, their wholeway to get around in that was
the music and the camera scenesand, um, the biggest thing about

(02:44):
it was like you had, instead ofhaving, the shark, you had
objects, and so there's a scenewhere these two fishermen go, uh
, go after the shark, andthey're trying to go after them
oh yeah takes out the, the wholedock completely, rips it off
yeah and so, instead of showingthe shark, the dock chases after
the guy and it works, it works,it's like you.

(03:08):
You just have that feeling thatthe doc is attached to the shark
and so it's just.
It's the doc chasing the, youknow.

Dylan (03:16):
Oh my gosh.
And when it's like floating outto the water and then pauses
and just comes right back inlike oh that's so good.
And just comes right back inlike, oh that's so good, yeah.
So, touching back on Mayer,it's crazy to me how much he's
pressing Brody to change hisreport from the first shark

(03:37):
attack is he wants to change itto a boat?
What is it?
A boat propeller?

Joe (03:44):
Yeah, or a boat accident or a propeller yeah, exactly, and
it's like the the minute uhhooper comes in and sees the
body.
He's just like this is notright.

Dylan (03:58):
Right, he tries to like start off using all of like kind
of the proper, proper phrasesand names for things, and just
the chief is just like what.
What are you talking about?

Joe (04:11):
The nomenclature for all the things at sea and what the
actual names of the sharks are.
Right, yeah, so Chief Brody iskind of at first the main hero
and, um, they, they basicallytry to get money together to

(04:31):
kill the shark and they try tohave a reward.
And so quint comes, in which theokay, the reward was originally
offered by the the ladies whoseson died, right, yeah, okay
yeah, and then I think quint umup the ante to ten thousand

(04:53):
dollars, yeah, and they didn'twant to do that, they couldn't
afford it or whatever.
So then Hooper comes in to tryto give a more educated view on
the shark Right.

Dylan (05:12):
Yeah, but Chief Brody was like very much started off as
kind of the reluctant herothough.
Yeah, and so it's.
It's funny too because, like inthe scene where Brody's son
they gave him the boat for hisbirthday and he's, you know,
brody, is like holding the sharkbook and hands it to his wife

(05:36):
and starts yelling at the son toget off.
And then Brody's wife just goeslike she flips from, like oh
he's fine in the boat, and thenshe like reads the page.
He's like get him out now.
Get out of the boat.

Joe (05:52):
Yeah Well, she yells at them.
She just, you know, passes byBrody.
It's just like get off the boat, right, yeah, the?
I think the first scene in themovie where the couple goes out
is just so nostalgic of allhorror movies yeah you know,

(06:15):
it's that whole, like you know,the biggest, I think the biggest
point that people.
You know, what is that movie?
Um, scary movie where it talksabout all the cliches of horror
movies.
Okay, and so you have thiscouple who are, you know, gonna
do the the deed or mess around,and so she goes swimming and all
of a sudden she's the firstvictim.

(06:37):
Yeah, you know, she goesswimming and you know the, the
boyfriend goes and stays on thebeach and she just, um, you know
, gets, gets eaten alive.

Dylan (06:49):
So well, and it's.
It's interesting too of how shelike thrashes back and forth
like you know, you knowsupposedly from the shark, yeah,
and then like it's funny,because they just like cut back
to the beach and he's justlaying there trying to take off
his pants yeah, just justchilling, just chilling.

Joe (07:06):
Yeah, she's just screaming like why he doesn't hear.

Dylan (07:10):
I don't know right, because it's so funny because
when they cut back to like youdon't hear her screaming in the
background, you don't like allyou hear is like the calm waves
and like him just kind ofstruggling, yeah and so.
So it's kind of interesting.

Joe (07:24):
So yeah, and that scene, uh , the, the actress who who is in
that scene is the actual stuntwoman.
Um, so, instead of having youknow, uh, so in this movie there
were several stunt people whojust played the part.
Okay, rather than having anactor and then a stunt person

(07:45):
come in for that, yeah, theactor, um, she was the stunt
woman, and so they actually hada set of pulleys on her.
They tried to kind of have herdo it on her own, but then they
actually attached pulleys to her.
They had a harness.
Um, so when you can see herfrom the top, they had, uh, she

(08:06):
had shorts on underneath the andthen like a pulley system under
her.
Oh, okay, and so then stevenspielberg would pull on on the
pulley, and then she would getyanked.
And so then that would be theshark, and then she would react
to being pulled yeah, it waskind, kind of a reaction to what

(08:27):
was going on.

Dylan (08:28):
Yeah, because then that just definitely makes it so much
more authentic looking of whereshe did not know which way she
was going to get yanked next.

Joe (08:37):
Yeah, so she's just jerking back and forth.
They said that she was supposedto say the Lord's Prayer or
some kind of prayer in between.
And they said, like she said,that there were like eight
Catholics on set and theycouldn't put it together to save
their life.

Dylan (08:58):
That's so funny.

Joe (09:00):
And then, when they overdubbed her lines, just her
thrashing they had her in thestudio upside down and Steven
Spielberg sort of waterboardedher and poured water on her face
while she screamed.

Dylan (09:16):
So you had that drenching sound, that's one way to do it.
It was pretty intense.
That's crazy Upside down.

Joe (09:25):
Yeah, upside down man, and then they just poured water and
then she read her lines ofscreaming and all that stuff.

Dylan (09:35):
It's funny when the mayor goes to talk to Brody After
that attack and kind of the thefirst introduction to brody, and
um, brody goes out to wherethey're having, like, their
swimming race, yeah, and he'sgonna get him out of the water,

(09:55):
and the mayor, like is honkingdriving up and he's got the
whole crew with him, yeah, andit's so funny that they get out
and like the ferryman, you know,takes him across and they have
this whole conversation and then, as soon as they're done,
they're like okay, you can takeus back now, yeah yeah, yeah,
and he, he pretty much was justlike no, you're not, you're not

(10:16):
shutting things down, we're notgonna make any money, right um
which like I totally, I, I Itotally understand why, like he
feels they need to, but it'slike you know, if you have a
thin winter, so be it.
It's.
You know it's what helped savepeople and you know, because of

(10:40):
that, because of the mayor'sactions, many more people died
and the little boy died and andum, yeah, like rolling into that
when, like the grieving mothercomes up to brody and just rocks
his world just smacks the crapout of him and it's like, why

(11:02):
didn't, why didn't brody just belike, oh, yep over here right
like yeah, this is the one whomade that decision.

Joe (11:08):
That's the thing about brody too.
Is that like you really see,like, like his character of
leadership, like he's not gonnathrow his superiors under the
bus, like that that it's kind oflike one of those things that
you don't.
you don't complain upwards oryou don't complain downwards,
like you know.

(11:28):
And so like in private he'sgiving them, you know, like his
mind, but in front of everybodyelse he's just like, okay, I'm
going to take it, you know, it'sjust, it's just his like, the
way his character is as acharacter just is that heroic,
like I'm not gonna throw mysuperiors under the bus, um, I'm

(11:50):
gonna keep leading this team,no matter how bad it gets right,
and it's just, it's just, yeah,it just serves to to his, you
know, heroicness, I guess rightnow like true heroes in movies
usually will take that.
You know it's like you look atsuperman or any of those other
kind of people.
Yeah, um, and that shot, uh,you know, when he's on the beach

(12:16):
and he's just nervous and he'she's like just trying to watch
out for people.
And then that first, that thatI guess second attack would be
the you know her son, that justyou know he gets eaten by the
shark in front of everybody inthat pan of just like just

(12:38):
terror.

Dylan (12:39):
You know, with that camera shot, it's just like Well
and like of everybody, justjust everybody, just rushing out
of the water, does the dog die?
I don't think so.
Don't think so because, like Idon't think, it showed the dog,
oh yeah like after the guy wasyelling for, for the dog right,
but then it shows from the sparkthe shark's view coming up

(13:00):
underneath the dog yeah, becauseit shows the dog paddling
around.
That's right, yeah, and thenthe guy you know is like it
shows the dog paddling around,that's right, yeah.
And then the guy you know islike calling for his dog and,
like you, just don't see anysigns of the dog.

Joe (13:10):
It's probably just yeah, maybe he did.
I kind of think now that Ithink about it he probably was
and then went for the boy.

Dylan (13:18):
Yeah, yeah, a little before the meal, I guess, but
yeah, and that's the first sharkattack that we actually see on
screen.

Joe (13:30):
For the movie yeah, and the blood and the guts and all this
stuff.

Dylan (13:36):
Wait, do you see?
I think you just see the blood,right.

Joe (13:40):
Well, so they actually had somebody pull the kid down.

Dylan (13:46):
Oh really.

Joe (13:47):
It was kind of a switcheroo , where they had a scuba diver
or a swimmer underneath the kidand then they counted out, they
pulled him down and then theblood was right next to him.

Dylan (14:00):
So he just squirted up in the air.
So it's just all of them on go,yeah, wow.

Joe (14:07):
OK, that was another one where they tried to have him do
it on his own and he justcouldn't do it.
So they made it so right,because like when you're in the
water.

Dylan (14:13):
I I don't even know how like I could get my body to
perform that action, like justyeah, throwing your arms up I
guess, and then going, yeah,it's kind of like diving in a
diving while you're in the water.

Joe (14:28):
That's just like hard right even for a advanced swimmer,
it's just a hard thing to do soyeah, and then especially trying
to get a kid to do that.

Dylan (14:38):
But yeah, then you have just the sheer panic of
everybody just rushing out ofthe water and the mayor's there
to witness that, isn't he?
Yeah, so yeah, that should havebeen.
Hey, mayor, here's your, here'syour eye opener.
Yeah.
Then after that you kind ofcome to the slapping scene.
Yeah, brody saves face and youknow it toughs up, and then you

(15:04):
have the, the scene of just allof the, the fisher boats, like
coming in yeah, when they theygive the, uh, the number of you
know how much it's gonna beright oh yeah, because, because
in the in the room and thathorrible chalkboard sound.

Joe (15:22):
Yeah, oh, that's awful.

Dylan (15:24):
I plugged my ears for that part.
Yeah, it's so good though it'sso good, it's definitely one way
to introduce a character.
Yeah, because then the kid'smom offers three grand.

Joe (15:39):
Mm-hmm.

Dylan (15:43):
And then Quinn is like you, pay me me 10, I'll take
care of it for you because he's,he's, this is what he does,
right?

Joe (15:52):
you know?

Dylan (15:53):
yep he's shark hunter, yeah.
And so then, like, have all oflike the, the novice finisher
men out there, yeah, they'relike oh well, we can you know we
can do it better.

Joe (16:04):
Yeah, you know yeah, everybody always thinks they can
do better the boats are being,um you know, overweighted, right
, everybody crowding into it.

Dylan (16:13):
You have the shot of like everybody just in one go, like
leaving the docks and stuff.

Joe (16:19):
Yeah, it's just pure chaos well thing too is it's kind of
greed because, like, if you'reon the boat and you catch that
shark, then you get a cut of$3,000.

Dylan (16:30):
Right.

Joe (16:31):
You know.
So, like I wasn't, you know youdon't think about it when
you're watching it, but it'slike, why are all these people
getting on one boat?
It's like because they get tosplit the money, right?
You know, like they all want tohave a you know a piece and
like yeah, um you know.

Dylan (16:49):
So right, get, get the buddies together, we're going.

Joe (16:51):
We're going fishing yeah, half of them are drunk anyway,
and and the one tossing thedynamite into the water yeah,
just just willy-nilly yeah,right on the coast, they're just
, they're just getting out andthey're tossing the water.
Yeah, just just willy-nilly.
Yeah, right on the coast,they're just, they're just
getting out and they're tossingtime into the water.
Yeah, so, the fisherman, um,there's a, there's the character

(17:17):
, um ben gardner, and he was a,he was a fisherman, one of the
multi people eventually, like hegets, you know, taken by the
shark, because you find themlater.
Um, but that that actoractually showed.
So craig kingsbury, who playedben gardner, showed robert shaw,

(17:38):
who plays quint, how toactually talk like a fisherman
oh, yeah, him all the and stevenspielberg said if um, pretty
much like, if he could actbetter, he would have played
quinn.
Oh really yeah, but but he endedup just being a side side part
in that after they're all goingout, you have the um fishermen

(18:01):
trying to go out at night and dothe roast beef and oh, okay,
yep, trying to get, trying toget the shark, and then you know
they they fail and the sharkcomes after them.
Right turns around.
Yeah, yeah, you have peopletrying to go after the shark and
then they come back with a,with a tiger shark, right?

Dylan (18:22):
which they think is their shark, yeah, and then this is
where we meet hooper.
Yeah, and he, he kind of has a,a funny introduction because
he's trying to, he's trying tohail down the, the chief, yeah,
and chief is like pretty muchlike blowing him off, yeah, and

(18:43):
well, the funny thing is hegives them jobs to do because
it's like hey, go tell thosepeople to stop.

Joe (18:47):
He's like hey guys, stop.
Uh right, the chief said, chiefsaid, stop doing that.
And they're like, and then he'slike oh, where's the, where's a
good place to eat, you know?

Dylan (18:58):
yeah yeah and then they just tell him just down the road
.

Joe (19:02):
Yeah, just down the road.
Yeah, keep walking.

Dylan (19:05):
Because then they then they bring in the shark, yeah,
and they think it's their shark,yeah, and it's a nice little
tiger shark, uh huh who?
Yeah, not going to hurt nobody.

Joe (19:17):
Yeah, and he's trying to tell everybody that's just the
tiger shark, right.

Dylan (19:22):
Yeah and like, yeah, your shirt right.
Yeah, and like, yeah, theytotally are like oh, no, no,
this is, this is the one we wantyeah, yeah that's a shark
expert yeah, yeah, yeah and thenthey all all pose around it for
the, for the newspaper picture.

Joe (19:38):
Yeah, be the big heroes and uh, that's not, you know, the
whole time he's just kind oflike shaking his head and just
like, right, no, this isn't youknow well, and it's.
It's funny too, because then,like, the photographer is trying
to like get him out of the shotyeah move because he's standing
right beside the shark right,everybody else is like wanting

(20:01):
to be in it, be in it and bearound it and yeah yeah, and
then he's wanting to cut it openright there and I kind of had
the feeling that he didn't wantto necessarily cut it open right
there, but you know right he'sno better proof, though, yeah
right, yeah, and they're like,well, we don't want the kids
spilling out, and she's likepretty much like that's not

(20:22):
gonna happen right.

Dylan (20:24):
Because what is?
Because it's the mayor thatsays, well, we don't want the
one, it's spilling out all overthe dock in front of everybody,
yeah, yeah, which I mean I wouldunderstand that.
You know, that'd be a prettygraphic scene.
But then for the mayor to alsoturn it around and be like, well

(20:48):
, just don't cut it open at all,just get rid of it and just
completely trying to just burythe whole thing, the whole time
he's just trying to bury it,trying to bury it Right right.

Joe (20:59):
Yeah, how does it come up?

Dylan (21:03):
there's the shark that's trying to kill the people is not
a tiger shark right, and then,like that night, hooper and
chief brody then go in andactually cut open the tiger
shark and yeah, they findlicense plates right, yeah
license plate and all just sortsof stuff.

Joe (21:24):
Because because he said uh, hooper said that tiger sharks
just pretty much eat whatever'son the bottom yeah, and the the
cool thing about his like evendetective skills of knowing how
to identify a shark is he waslike, well, he came from, he
probably came from this area,right, and sure enough they

(21:46):
found it right, because he saidthat I was gonna say.

Dylan (21:49):
He said he said that part before they even cut it open
right yeah, yeah, yeah.

Joe (21:53):
So they cut it open.
It's like there's the proof,you know right there's like good
old louisiana.

Dylan (21:59):
Yeah, is it that night that they go out onto hooper's
boat?

Joe (22:04):
yeah, the super sci-fi fancy right boat and like that,
that.
That scene is where you canreally hear john williams
influences of music right, andyou know there's like, uh, you
know the, the scene we bothmentioned sounds a little like

(22:27):
harry potter you know, right,it's like those little like uh,
just nuances and then.
But he was influenced by.
You know, we were talking aboutthe planets and how the
different arrangements from theplanets have influences, with
Jurassic Park and Jaws and allthat stuff, and so it's like if

(22:49):
you really listen to a lot ofthese little scores in here, you
can hear all these throwbacksto things that will happen in
future movies.

Dylan (23:03):
Yeah, I mean that's cool for them to kind of go back to
that and take the influence fromthat.

Joe (23:12):
There's points, like in this point, where they're on the
sci-fi boat, on the super andall the water is like Cooper
mobile boat.
Yeah, it's like.
Now I think about it.
It's like why didn't they takethat one?
Probably had lasers on it.

Dylan (23:31):
It's like yeah, that would have made quick work on it
.
Yeah, and then they.
So then that night they, theycome up to the boat that's just
drifting there, got a nicelittle bite taken out of the
side of it yeah, so he goes downand checks it out.

Joe (23:49):
Stupid move yeah, yeah but it's typical.
It's typical thriller horrorgenre like yeah you know, I see
a, I see a haunted house in themiddle of the forest with, like
you know, clearly, uh, there'sdemons inside.

Dylan (24:06):
I think I'm just gonna go look you know, to make sure you
know.

Joe (24:10):
So this is like you know, there's a boat that's drifting
that looks like it's half sunkand you know, I'm just gonna get
my scuba gear and and make surethat you know right and, like
chief brody is kind of the theyou know, the voice of common
sense in this one, becausedoesn't isn't he like, let's
just tow it back?

(24:30):
Yeah, yeah, to the shore, towit back, yeah it out.
Uh, you know that's.
Yeah, we don't have to get inthe water, right?

Dylan (24:41):
but hooper does anyways.
Yeah, he's down there and comesup to the, to the bite in the
hall of it underwater and likekind of like lingers there and
you're like, okay, like so he'slike it's just quiet and you're
like you just feel it, it's justa pressure on your chest.
You're like something is goingto happen.

(25:03):
You're waiting for the shark topop up, or a shark.
Something is going to come athim.

Joe (25:10):
Yeah, it's just, ben Gardner's head just comes
popping out with his eyes bulgedand he finds a tooth popping
out with his eyes bulged, andyou know, and he finds a tooth,
and that that it's funny becauseup until then my wife had not
had a jump scare, and that justwe both, just you know I forgot

(25:33):
about it.
And so it's just, you're justlike ah.

Dylan (25:38):
And it was so funny though, because, like it made it
made me jump so bad, but then,like, sitting beside your wife
and and her, her jumping, itjust made me like so much worse
and I was like jumped off thecouch and it's it's so.

Joe (25:55):
Like you, you laugh at yourself too, because you're
just like that I should haveknown that that was going to
happen, or like it wasn't eventhat big a deal, but like when
it happens, it's just, I think,like the calmness and and you're
not expecting anything.
You know, like I was.
You know, I was watching someof the documentaries and they

(26:16):
just talked about how that.
You know, people, people, theeditor won awards for that
because she just timed it sowell and like Steven Spielberg
wanted it that way, but she justlike edited it so well, she's
the one like yeah, yeah, soshe's the one to blame.

Dylan (26:35):
Yeah, yeah, yeah.

Joe (26:37):
It's like Steven Spielberg was like I want it like this and
she just, she just nailed it,she nailed it, yeah, and it
takes.
You know, editors don't get alot of credit for things, you
know, because you never thinkabout somebody who's.
You think the director is therethe whole time, but the editor
is putting things together Rightand so.

Dylan (26:57):
Yeah, the director has the vision for it.
For it, sure, but like, youreditors are the ones who are
your go-getters, they're theones that make it happen yeah,
make it sound great or lookgreat or right, you know.
So when, when the head you knowfloats out of the boat is, is
that, is that his actual, likeface um?

Joe (27:22):
like is it yeah?

Dylan (27:24):
like, is it like?
Did they make?
Like a mask of his?

Joe (27:28):
oh, yeah, so they made like that they made like a foam
latex, uh, cast of his face, ofhis head, and then they added
like the eyeballs and everything, yeah, so it's like they cast
his head, they put foam latexinto the mold and then, uh, you
know, they just had a bengardner head and right, you know

(27:49):
it's still like the.
You know, you know the actor'shead is still floating around as
a prop from collectors andthings like yeah, yeah, yeah,
because it's so iconic.
There's so many of these thingsin the movie that are iconic
that things like that arefloating around, right, you know
.

Dylan (28:10):
So then once they like kind of the next morning, is
then like that's when they'retalking to the mayor, right,
yeah, they're basicallybasically like so the sign, um,
it's.

Joe (28:25):
It's funny, uh, because at the beginning of the movie they
show amity and and there's this,you know, girl on the beach,
and it's, it's all nice rightpicturesque and everything, and
it's a painting and as they'retalking to the mayor, you can
see behind it that somebody'sput a shark on it and her eyes
are all like scared and she'sall yeah, yeah, that's the thing

(28:49):
about like that.
I that, even without seeing themovie, that I noticed right away
in the movie.
Um, I know I grew up going toUniversal Studios and going on
the Jaws ride and that's onething that is so like you see
right away as you pull in, causeit's a tram ride and so, um,

(29:10):
little backstory, if you haven'tbeen to Universal Studios
Hollywood, um, they have a tramride and you get on an escalator
, go down, you get onto the tramand you go and watch the sets
and as you go through the sets,you go through a set of Amity
Island and so you're goingthrough and you kind of see this

(29:32):
dock area and you see afisherman and he's like hanging
out and you know, and so there'slike when I was there and they
had actual humans on the trams,now they have like Jimmy Fallon
narrating the whole thing.

Dylan (29:47):
Oh, that's weird, it's just terrible, but you would
have.
It was pre -recorded, yeah.

Joe (29:51):
You would have the guy going.
Oh hey, you know, they saythere's a shark out there, you
better get out of the water, andyou know, know, and so, like
you're looking at the guy, yeahtrying to warn him and
everything, and so when you comeup to it, you see that first,
uh, billboard of amity islandwith the, with the girl and oh
yeah happy.

(30:13):
And so then, like, as you godown, you kind of go a little
down into this, you know, andyou're right next to the dock
and you start hearing and thenyou start seeing a fin coming
around and you're like, oh no,what's going to happen?
And sure enough, as you'reright, in the middle Jaws comes

(30:37):
out, and just you know he's likemiddle jaws comes out, and just
you know he's like you know,and uh, you know he goes, and uh
, before he he comes to you,know to you, he goes after the
guy in the boat and you see,yeah, he just it's just gore and
and then you see him come andthen, like, the dock blows up

(30:57):
and supposedly he dies and allthat.
It's like all in one, it fails,you know.
But uh, after you come off ofthe ride and you exit, there's
the billboard again and it's theexact painting.
Oh yeah, it's in that scene,yeah, so it's just awesome.
Help shark, yeah, help shark.

Dylan (31:18):
So great, yeah.
And then you have like the shotof the crowd, just like coming
in off the ferries and just thehuge boats, yeah, coming to the
island tons of people, yeah justa flood of people yeah, it's
like a ferry boat bringingpeople in and you, just, you

(31:41):
just feel like a massacre aboutto happen, right, you know it's
just yeah, feeding time, right,and it's like you know you still
go back to we know what's, youknow what's been happening, and
it's like those poor people hadno idea.
So then, like the next scenesis like they're down on the

(32:05):
beach, but then, like you know,they have some inkling of what's
going on because nobody gets inthe water right, yeah and you
have the, you have the reporterman.
Yeah, who's who's?
You know like they're.
Does it say where he's from orjust off the island?
Yeah, um, he's, he says wherehe's from, but but it's kind of

(32:28):
it's from off, it's yeah, yeahmore, just to tell the audience
of you know, hey, this is not,you know he is not from the
island like, yeah, because he'sthere.
They're there like pretty muchinvestigating the shark attacks,
right, yeah?

Joe (32:41):
yeah, and he, so he's reporting on it, saying this is
what's going on, yada, yada, um.
The funny thing about thereporter is that the reporter is
the writer of the book.
Oh really yeah and they had himdo it because he had done
newscasting in the past, so hehad experience already being a

(33:02):
newscaster and doing yeah, so itwas like it was just a natural
thing like, hey, we want to getyou in the movie, and so they.
They made him the thenewscaster.

Dylan (33:11):
That's awesome, yeah yeah , that's so cool that, like the
author of that wrote, the bookgot to pop up in the world that
he created right?

Joe (33:21):
yeah, it's like who gets to do that right?

Dylan (33:24):
it's like not a lot of people so yeah, um, do you know
when, the when the book actuallycame out?
oh, man it was 74, right, yeah,I think so.
Yeah, so it came out in 74.
And the yeah, the book was sucha hit that the?

(33:45):
The movie rights were boughtbefore the book even hit the
shelves.
Yeah, yeah, and the?
The movie keeps the basic ideaof a giant shark is terrorizing
a small town.
But then, like a lot of likethe subplots of the book.
I've started reading the book,by the way.
Yeah, a lot like the subplotsof the book.
I've started reading the book.
By the way.
Yeah, a lot of the subplot ofthe book is um, yeah, ellen

(34:06):
brody, chief brody's wife, hasan affair with hooper and yeah,
so thank you, spielberg, forcutting that one out.
Yeah, you know, there was alittle like when they kind of
kind of brushed on that at thedinner scene.
Yeah, In the dinner scene itseemed a little like hmm, and it

(34:27):
seems like with the flow of themovie it just feels so out of
place.

Joe (34:31):
Yeah, it would be so like.

Dylan (34:32):
I wonder like how much of that they ended up filming and
leaving on the cutting roomfloor.

Joe (34:37):
Yeah, yeah, the actress did say she liked, uh, richard
dreyfus more oh yeah I think shewould have would have liked to
continue with the novel versionright?

Dylan (34:53):
yeah, because in in the movie like it just trims
everything down it just trimseverything down mostly to the
good stuff.
You got suspense, the hunt, buteven the ending is different
the shark doesn't blow up.
Spoilers the shark doesn't blowup like it does in the movie.

(35:14):
It just kind of almost justkind of rolls over and dies from
its injuries, like gets stabbedor something, and then right
floats down or yeah and so.
So, yeah, like I definitelyappreciate spielberg for for
changing that up then, because,yeah, that's definitely more of

(35:36):
a big ending yeah, they talkedabout how it was, they debated
on that and they they kind ofyeah debated with steven
spielberg on like we can't justlike blow them up.

Joe (35:50):
You know, like we gotta, there's gotta be some there's
gotta be a reason.
Yeah, there's gotta be a reason.
And he was like, if, if I havethem in my hands by this point,
yeah, like, blowing them up isnot going to be out of, out of
you know like out of left field,because by that time they just
you know they're, they've gonethrough so much, you know

(36:12):
they've just gone through somuch and and it's like so, by
the time they get to it, it'slike itvable for people to even
want to see that, right, right.

Dylan (36:22):
Because now you're rooting for it pretty much, yeah
, but yeah, going back to thebeach scene, though, after the
mayor pressures everybody intothe water and you kind of think,
think, oh, maybe the coast isclear.

(36:43):
Definitely not yeah, and it'slike it's such a good turnaround
of they have like the shark finand just everybody's screaming
running out of the water.

Joe (36:54):
Yeah, and there's the, the one guy that like gets trampled
yeah, yeah, old people gettrampled and like, yeah, they're
pulling in and like it's just ajoke, right.

Dylan (37:05):
Right, and it's just mass panic, yeah.
And then you have the scene ofevery all the people on the
boats.
Like you know, they've gottheir guns just pointed down at
the shark and like the fin popsup and it's the two kids you

(37:26):
know.
Oh my gosh, imagine being thatdumb and then picking your head
up and seeing all these gunsdrawn on you like I've been like
yeah, and then right after thathe actually shows up right in
just the best turnaround,because everybody's like over at

(37:48):
the beach, yeah, like, oh,we're, you know, kind of
disarming ourselves.
You know false alarm, yeah, andthen, and then the gal is like
shark, shark, shark shark in thepond.

Joe (38:00):
Yeah, and just before that, brody tells his kid and his
friends like hey go over there.

Dylan (38:06):
Oh, yeah, yeah, yeah.
Because that was the likelyplace that he wasn't going to be
at.
This is the safer area, yeahRight, yeah, which it's not a
pond.

Joe (38:15):
Yeah.

Dylan (38:16):
Yeah, yeah, yeah.

Joe (38:17):
It's not a pond.
I didn't even call it thatbecause it's not a pond, right,
yeah, but yeah.

Dylan (38:24):
So yeah, he's like go go into the pond and then you have
the guy on the boat.
That's that comes up to the,the kids yeah who's you know,
playing with their boat?

Joe (38:37):
on their boat.

Dylan (38:37):
Yeah, and he's like are you guys okay?

Joe (38:40):
Yeah.

Dylan (38:41):
And, just like, honestly, one of the best shots of the
movie.

Joe (38:44):
Yeah.

Dylan (38:45):
It's just when it's above him looking down.

Joe (38:48):
Yeah.

Dylan (38:48):
And you just see just the massive I mean because it's the
first time you get scale, yeah,and it's just massive, massive.
Yeah, and it's such a good shot.
That's one of my favorite shotsof the movie honestly, yeah,
they actually had that scene.

Joe (39:08):
It was going to be a lot more gory, oh yeah.
And so he was going to likesomehow the kid was going to end
up in the water at the sametime he was in the water, and so
, like he was going to, wasgonna like, push the kid out of
the way oh, yeah, and then theshark was gonna get the the
adult, oh man.
And so, as he's pushing him outof the way, the shark, um, is

(39:31):
pushing the adult, and the adultis pushing the kid, oh man,
yeah.
So it was just like, but, as inthe scene, as the shark was
biting down on him, he was goingto be gushing blood and all.
And they said like no, we can'tdo that.

Dylan (39:46):
That's too much.
That's too much.
Yeah.
And what was Jaws rated when itcame out?
Did they have the rating systemthen?

Joe (39:54):
Yeah, they did Okay.
So they wanted it to be PG Okay.

Dylan (40:01):
So they had it to be PG, okay, so they had to yeah, wow,
yeah, yeah, and so they had totake out.
You can traumatize yourselves.

Joe (40:08):
Yeah, so originally when they ran it through the ratings
board, yeah, they gave it an R,understandable.
Yeah, so then they had to likecut some stuff out.
I guess the the pivotal scenewas when I think when he gets
bit they show his leg, go to thebottom of the the ocean.

Dylan (40:31):
Yeah, and they still showed that, didn't they?

Joe (40:33):
They did, but it was like a longer cut and so, like it, it
slowly like went down and theyshowed like this blood coming,
you know, like it was a littlelonger.
And so they said, okay, you canshow it, but you got to cut
that down a bit.

Dylan (40:47):
Oh really.

Joe (40:48):
Okay, so it was just like gushing blood.

Dylan (40:50):
Yeah, oh yeah, yeah, as one does, yeah, exactly.

Joe (40:54):
Yeah, exactly, or a limb gets taken Right our limb gets
taken?

Dylan (41:08):
yeah, right, so.
But yeah, then is it the sameday that then they go, they all
go out on on uh quinn's boat.

Joe (41:12):
Yeah, okay, so they uh, yeah, they get ready and they're
just like we're, we're goingafter them.
Yeah, it's.
It's time we have the team,it's time to regulate A simple
team, yeah, well.

Dylan (41:25):
And then you have the like, the scene of like after
they get everything loaded andlike they're actually like
heading out, yeah, and like thescene through the shack, yeah
the shack yeah, and you seethrough the window, the, the
orca uh-, huh, yeah and andthrough the, the, the jaw, you

(41:45):
know, of the shark, like, ohyeah, that's such a good shot
too.

Joe (41:48):
Yeah, it's because it this is foreshadowing my favorite
scene is when quentin isordering people around and and
hooper just gives him these likefaces.

Dylan (41:59):
He's like yeah he's just like, yeah, totally just mocking
him behind his back totallylike like a school kid and a
teacher.
You know like I'm not gonnalisten to you.

Joe (42:12):
You're just right.

Dylan (42:16):
Well, and then even even quinn Quinn kind of comments on
that of how Quinn is old schooland Hooper is new school and has
all the tech and gadgets andgizmos.
Quinn scoffs at that and he'slike that's not going to help
you.

Joe (42:33):
Yeah, yeah, yeah, and it's learning to work together
because both of those are useful.
Right, you know, it's like notone or the other, it's both of
them.
Yeah, you know, the chief isjust like okay, I'm just here,
I'm an unassuming, not wantingto be a sailor person.

Dylan (42:57):
Just chumming the water.

Joe (42:59):
I'm just chumming and then, as he's chumming, the shark
pops up.

Dylan (43:05):
You know, that's like that's a good shot too.
Yeah, like chief brody is likekind of turned, turned back
towards the boat.

Joe (43:12):
Yeah, you know, facing the camera yeah, and just up behind
him yeah, just out of nowheretoo, yeah, and it's just like
he's just kind of chumming, likeokay, I'm chumming right.

Dylan (43:23):
What's the point of this?

Joe (43:25):
yeah and then all of a sudden, boom, yeah, as fast as
he pops up, um, it's just sogreat, just like you know, one
minute he's like looking at thewater and then they cut on him
and he's just like pops up, likeyou know, right, and then he
runs in and tells them you'regonna need a bigger boat which I

(43:51):
can't believe that that linewas improv.

Dylan (43:55):
Yeah like such such an iconic line, yeah, and so much
stuff like has stemmed from that.

Joe (44:02):
Like you've got it in commercials and just so many
people like you know, justquoting that, yeah, you're gonna
need a bigger boat.
Yeah, yeah, yeah.
So that's when it shifts fromlike the horror movie genre to
this like adventure at sea, youknow, going for the Kraken you

(44:24):
know, like the pirates or youknow like just, it just shifts
right there.

Dylan (44:32):
Yeah, and like, like even in the the, the score of it
like it very much changes tomuch.
You know, brighter, playful,adventurous music.
Yeah, versus versus.
You know just the the, you knowthe the dark and then, yeah,

(44:54):
during, during, like the fishingscene where you know his line
starts reeling out.
Yeah, yeah, and he knows it'scoming and he like, starts to
put on the harness yeah, youknow off the and like I thought
the harness was going to beattached to the chair yeah,
because I'm like boat.
Yeah, right, you've you've got,you know a lot of, you know

(45:17):
several tons of shark that he'sused to dealing with.
Yeah, you know, and this sharkis bigger than anything he's
ever dealt with before.
Yeah, and it's like, even then,like that shark's gonna fight
back because it's what they do,yeah, and yeah, yeah, I just
thought that they would, youknow, attach him to the chair,

(45:38):
but nope, he's like, let's justgo for it.

Joe (45:41):
Yeah he's totally just attached to.

Dylan (45:46):
Basically it's attached to him and the line is made of
piano wire, right, you know,it's just like and then the line
ends up, ends up snapping, andthat's kind of how he gets away
the first time, yeah, and theykind of regroup and lick their

(46:06):
wounds, mm-hmm.
And so is that also the sameday that they start the barrels.

Joe (46:14):
Yeah, yeah, because they can't catch them with the piano
wire Right.
So, they're like let's do thebarrel thing.

Dylan (46:20):
Here's our traditional way that he normally does it.
Yeah, and that's such aninteresting concept too of the
barrels is because, you know,shark surfaces and kind of swims
by, checks him out and he gets.
He's got the, the harpoon gunattached to barrel, which Hooper
almost flubs it.

(46:41):
Yeah, because the shark almostgets away, yeah, and he, you
know, manages to get it tied atthe last minute.
And what was it that he wastying to the barrel?

Joe (46:51):
Oh, he had a tracker Tracker, wasn't it?
Yeah, yeah, that's right, hehad the tracker that was on it,
the first one, so that if theylost him they could find where
he was going and and all that.
But it was like the doing thetracker and tying the rope kind
of delayed him, and so then itslowed him down and yeah, yeah,
but he made it but do they showthe tracker like much more?

Dylan (47:15):
because I know in later scenes they showed the barrel
like popping up out of the waterwith the tracker flashing and
beeping.
Yeah, yeah, but I don't thinkthey ever actually like showed
him trying to use the tracker.

Joe (47:27):
Yeah, which is kind of interesting.
Yeah, the cool thing about allthat too is, again, it goes back
to so the shark didn't workuntil the end of filming, yeah,
work until the end of filming,yeah.
And so, as they were justmaking the movie and as they
were doing all these shots, theidea of the barrels was another

(47:48):
view of the shark yeah, and solike, rather than you know,
again not showing the sharkright sure not working right.

Dylan (47:56):
Let's have these barrels floating around and that gives
you an idea that the shark isdown there and is pulling the
barrels around interestingbecause from a movie standpoint,
it's the barrels are pullingthe shark to the surface and the
shark is constantly having tolike fight against that and
using energy and wearing itselfout yeah, but then from the

(48:18):
filmmaking standpoint yeah, man,they just have like the barrels
just running around bobbingaround and like watching it like
it's you totally believe it,totally buy it.

Joe (48:30):
Yeah, yeah you totally buy it.

Dylan (48:31):
Yeah, and like that's such a good shot too.
I was just seeing the barrelsgo by yeah, you're, you're like
oh, here we go.

Joe (48:40):
Yeah, and the same thing with the pier, same thing with a
lot of the other things.
Like you get that this hugeshark is capable of moving all
of this.
You know whatever it is Right.

Dylan (48:54):
And so, like, by the time you've gotten to that point,
you already know, you knowyou're, you're buying that yeah,
and then, and then that nightwhen they tell their, tell their
war stories, show off you knowwho has the the best scar.
Yeah, and so it's actually likechief brody is the one who

(49:18):
points out where Quinn had a bigscar on his arm and asks what
that's from expecting some grandstory.
But Hooper makes a joke aboutit and then Quinn sobers up real
fast and he tells the story ofit being from the USS

(49:38):
Indianapolis, which was sunkduring when did he say it was
World War II?
Right, yeah, I think it wasWorld War II.
Yeah, and the boat went downand it was supposed to be like a
top secret mission and sonobody knew they were out there.
For he said a couple of weeks,right.

(49:58):
Yeah, like a long time and howthe boat went down and they all
started huddling together andthe sharks started coming and
circling, yeah, and they wouldtry to fight off the shark
kicking, screaming, yelling.
But I mean, it's a shark, yeah,like there's not not much you
can do and you know he talksabout it being just a machine

(50:21):
with cold, dead eyes and thestory of that in the movie kind
of sounds fantastical.

Joe (50:31):
Right.

Dylan (50:31):
Just a good made-up backstory for the character.

Joe (50:36):
Yeah.

Dylan (50:37):
That actually happened.
Yeah.
The character yeah, thatactually happened.
Yeah, like that's.
That's.
The terrifying part is likejust thinking about how much of
that was actually true to lifeand what happened to those guys,
and like that's horrifying yeah, there was um.

Joe (50:54):
So yeah, it was basically a secret mission that people
didn't know about and it was.
I can't remember if they werepart of it or they were part of
the bombing, but it was.
It had to do with hiroshima,and so hiroshima was bombed.

Dylan (51:10):
They were still out there and a sub from japan sent the
ship and yeah they weredelivering components for the
atomic bomb yeah, and, and sothey got sunk.

Joe (51:23):
I think it was Spielberg, who I don't know if it was like
a housekeeper or somebody whoworked for them yeah, said I,
you know, called in and saidthey couldn't come in, and they
said what happened?
And they said well, I saw themovie and this is the first time
I figured out how I think itwas like my son died, oh, wow,

(51:45):
and because it was so secret andpeople didn't know the story
that and it was just coming outat that time, oh really, they
put it in the movie, wow, and itwas like people actually got
that information through themovie.

Dylan (51:58):
Culture shock yeah, yeah, yeah, yeah, because of that
original mission only like outof a crew of 1200 people, it was
like 360 something people thatactually survived and that's
that's just crazy.
Kind of right after he getsfinished saying that, boop up,

(52:23):
pops the barrel yeah.
And like it's the one with thetracker on it and you like see
it moving in the dark.
That's when the shark liketurns on the boat right.

Joe (52:35):
He starts to yeah, hit the boat and try to go after it, and
you know it, it's.
It's crazy how smart they makethem out to be right planning
yeah, he's probably like.
They're probably asleep by now.

Dylan (52:51):
I'm gonna go after them yeah, that's crazy, and that's
when the the other boat too.
I just realized like was in thenighttime too.

Joe (53:01):
Yeah, yeah or at least that's when they find it right,
right yeah, but you figure, bythe time they get out there and
find him right, it's been awhile, right you?

Dylan (53:10):
know.
So, yeah, he starts to floodthe boat and it's kind of the
next morning they come back toit or you know, in shot, yeah,
they come back to it.
And that's when you know, chiefbrody is like standing on the
deck and handing tools to andwhatever else they need and
trying to fix the right, andthey pull out, you know, the cup

(53:32):
and you see just the, the nastythey said it the seawater mixed
with the fuel, right, uh-huh,yeah, and burned out the rings
and so.
So then, like they're downunderneath the underneath the
floor working, and chief brody'sstanding up top and sees, sees
the barrel go by.

(53:53):
Yeah, so that's when they theypop out and they get more
barrels shot to him right, butthey.
They tried to tie the barrel tothe boat and then the um what
are they called?

Joe (54:09):
the hooks or whatever give?

Dylan (54:12):
yeah, well, and hooper gets pinned by one of the ropes.

Joe (54:18):
Yeah yeah, because since brody isn't a skilled, you know
sea person, right, uh, right,it's like you wouldn't you're?

Dylan (54:28):
you're in the heat of things.
Yeah, everything's happeningall at one time, like you're.
Like I just focused.
I gotta gotta get this tieddown yeah, not realizing right.
He could have been cut in halfright and then pulling at the
boat and starts coming apart.
Yeah, and that's when the boatstarts getting dragged backwards

(54:51):
by the shark.
Yeah, and just shows the powerof the shark.

Joe (54:56):
Yeah, that is the crazy part.
That huge boat, that Orca, justgets pulled by the shark.

Dylan (55:02):
Right, like it's nothing.

Joe (55:05):
So those barrels, like what are they really doing?

Dylan (55:08):
right, the boat gets pulled, like steven spielberg
pulled the out.
Yeah, so yeah, then they, theydo.
They cut the line right to toget it from stop.
Dragon barrels are stillattached to the shark, right?
So then that's when they firethe engine back up and try to

(55:30):
start taking off after the shark.
Yeah, but then you have thescene of when driving, piloting
the boat, yeah, and and um, isit chief brody that's in the
front and hooper is like tellingchief brody who is like deathly
afraid of the water yeah, justlike this is the first time he's
been on the water since he wasa little kid.

(55:53):
Yeah, and trying to tell him to,to go out onto, uh, the pulpit
right, that's what they call itthe pulpit.
Yeah, just for you know.

Joe (56:01):
To take a picture, yeah it's like, oh my, he's like, no
do it.

Dylan (56:06):
Yeah, that's kind of a funny, a funny scene, cause you
just see like the kind of thechief Brody like fighting with
himself.
It was like you know, he wantsme to do it, but I can't, I
can't, I can't, yeah.
And yeah, he's, he's, he's thehero too, you know, you just see

(56:31):
this fear and they've got, youknow they're, they're running
out of options, because then youknow, later the boat like
putters out and because theythey push it too hard, the
engine explodes, doesn't itSomething?

Joe (56:50):
like that.
Yeah, it just seizes, burns andat some point, at some point,
brody goes to use the, goes tocall for help.

Dylan (57:03):
Oh, yeah, yeah.

Joe (57:06):
Quint takes it out and he's just like what are you doing,
you maniac?

Dylan (57:09):
did that.
So what was the point of thatlike?
Was there a reason that hesmashed it?

Joe (57:15):
I think, I think he just wanted to do it himself, you
know he just wanted to have ahero moment.
Yeah, I think he I don't know,I I think he just didn't want to
get help.
He probably just felt like thisis it, this is time.
Right, this is this is my time.

Dylan (57:31):
Yeah, uh-huh, everybody, you know, looks at me and scoffs
yeah, it's just crazy, yeah.
But like definitely goes toshow like, hey, quinn's not all
there, yeah, yeah.
So then after the boat kind ofgives up the ghost and they're
like well, we're not going to goanywhere fast on this.

(57:51):
So then they have the brilliantidea of putting Hooper down in
the shark cage.

Joe (57:58):
Hooper likes to go swimming with sharks.
Oh my gosh.

Dylan (58:02):
And it's like you're like if the shark was powerful
enough to drag the orcabackwards, like fighting against
its motor and everything likethat, which is already powerful
enough to move that big old boat, and it's fighting against all

(58:28):
that it's.
And then you're like, so you'regonna go down in a toothpick
cage and, yeah, serve yourselfup on a silver platter yeah,
with a, with a harpoon, just oneharpoon, that you know right
you know, yes, they try to giveit the poison right.
But it's like you really,because his goal was to pretty
much get the poison squirted outpretty much in front of the
shark Right, well, swimmingalong.

Joe (58:49):
He squirted the poison into the harpoon and capped it with
the cork, and then he was goingto uncork it and stab him.
Oh, and that would get thepoison to him, oh, yeah.
But the shark was too smart andgot him from behind, right
Totally, snuck up and he dropsthe harpoon, yeah, so which

(59:13):
that's it, as all that likefighting happens like it's.

Dylan (59:17):
It's.
It's funny too, because then inone of the shots you can see
one of the camera divers.
Yeah, in the in the shot, likejust a real quick flash, but
like I don't know, I noticed itand you said you didn't yeah.

Joe (59:32):
So the thing with that scene is so it took place in
three different places.

Dylan (59:40):
Oh really.

Joe (59:41):
Or two different, I would say two different places.

Dylan (59:43):
Okay.

Joe (59:44):
But they shot it in three different like sequences.
So, like the idea came from,like they were going to
originally, you know, have themgo down and then do everything
that they were supposed to, yeah, but as they were setting up
one of the shots with one of the, they had a miniature cage that
fit a small person.

(01:00:05):
Oh, and as they were setting upthe miniature cage, they had a
shark out there and they werejust getting some B-roll footage
.
Yeah, the great white got itsnose caught in the cage.
And when great whites get theirnose caught, they start
thrashing.
Oh and so it-.

Dylan (01:00:24):
Oh, and that's how they got that scene of the shark
attacking the cage and justcompletely crashing, and then it
detaches the cage detachesright.

Joe (01:00:35):
So it actually detached from the boat it was connected
to in real life, and so thenthey had to write into the
script it detaching from theorca they had to write into the
script it detaching from the thework Really yeah.
And so they kind of shot it in aweird sequence because you know
the, the shark hit it, you know, and then and then.
So they had to make it so thatwhen the shark hit the um hit,

(01:01:01):
hits Hooper down there, hoopergets out and escapes, because
when they shot it there wasnobody in the cage.
So yeah, oh, wow, and so theyshot parts of it.
They shot with a real shark inAustralia and a real small
person for the miniature scale.
Better paid him good.

Dylan (01:01:22):
Yeah, yeah.

Joe (01:01:24):
So they actually said.
Steven Spielberg said that whenthey went to interview people
and they had people come in,yeah, well, this guy came in and
he said he was a bloody mess.
And he was like what happened?
And he said, well, I was tryingto get here and yada, yada, and
I got in an accident, but Ineeded to get here to get the
job.

(01:01:44):
And so he's like did you fleethe scene?
And he and he said, well, youknow like I had to get in here.
And so he's like go back, goback to the scene of the you
know the accident and go fixthat.
And he said, because of thatguy's like vigilance of wanting
that part, he's like I got togive it to him because he was
just like yeah're the luckyvictim.
Yeah, so he was the small personwho got the job, wow.

(01:02:09):
And so they put him throughscuba school and gave him
training.

Dylan (01:02:13):
Oh, really yeah OK.

Joe (01:02:14):
To be able to be underwater .
That's awesome, yeah, and sothey shot all that in Australia.
And then, for the scenes whereit was Hooper and he was
underwater, they shot in a poolin LA, in Universal Studios.

Dylan (01:02:30):
Oh, okay.

Joe (01:02:32):
Yeah, and so the shot where you actually see Hooper's face
being scared is the stuntman,yeah, he turns back up at it.

Dylan (01:02:39):
Oh, it's a stuntman, yeah .

Joe (01:02:42):
Oh, okay, because they had him underwater and they were
doing it Right?
Yeah, but it was close enoughthat you could kind of not tell
wow, yeah, because it looks justlike him.

Dylan (01:02:52):
Yeah, I guess that's the point of a stuntman right,
anyways, yeah, yeah, exactlyyeah but yeah, like, and then
it's so interesting too is thathe like, he like hid underwater
and then the, the shark takesoff the back of the boat.
Yeah, skipping anything no, Ithink it just completely takes

(01:03:15):
off the back of the boat yeahand like you get the shot of
quinn, like fighting literallyfor his life and trying to get
away from the, the gnashing jawsyeah of jaws yeah, right and
it's, it's like, it's such likea hardcore gory scene yeah of

(01:03:36):
you know the shark getting ahold of quinn, just swallowing
him, just chomping away at himand like you.
That's when you really get likethe blood and and they even show
, you know, quinn's face of painand struggle, and he's got the
blood coming out of his mouthand he's still whacking him with
that, that machete, yeah youknow he takes a good slice out

(01:03:58):
of him.

Joe (01:03:59):
Yeah, he does you know it's like yeah, it's just, and even
at that point, when they werefilming, they said that.
So there's an Orca 1 and anOrca 2.

Dylan (01:04:10):
Oh yeah.

Joe (01:04:12):
And Orca 1 actually started to sink and so, like, as it
started to sink, people werefighting because they were like
you know, we need to get theactors off the you know.
And then people were like, no,we need to get the audio
equipment off the boat and weneed to get all this stuff.
And so they started like justjetting towards the coast and

(01:04:35):
trying to get on the beach.
So like they tried to go so fastthat if they got to the beach
they could just go right up onit and try to save the rest of
the boat.
Well, it ended up sinking andthe cameras ended up going in
the water.
But because of how film is madeand and all of that, they use
like saliency solution to dosome, you know, editing and, oh,

(01:04:59):
really, to do development okay,so the sea water actually
didn't affect the film so theythought they lost all this
footage and when they went tolike process it and like try to
save it, see what they can save,it was saved, wow.
So like they thought it was over.
And so then they made anotherboat and like they got it

(01:05:20):
running again.
Yeah, but the Orca 2, in thosescenes where you know you see
Quint, you know getting killedand like all of that, they
actually made the Orca 2 to beable to, with hydraulics and
everything, go above the waterand then go down and go down on
its own yeah.

Dylan (01:05:40):
Oh, interesting.

Joe (01:05:41):
And so it's made so that it looks like a boat, but
underneath it it's hollow.
Yeah, yeah, so it's like that'sthe beauty of movie, magic,
right, you know.
So they can take differenttakes, they can do whatever they
want, yeah.

Dylan (01:05:58):
They have complete control over it.
Yeah, wow, so so.
Yeah, wow so, so, yeah.
Then after quinn gets getsswallowed whole, then orca's
going down and you get the shotof, like chief brody like going
back into the cabin.
And what was he going back for,like, was he?

Joe (01:06:24):
he was trying to get away from the shark, basically.
But yeah, because he's like theboat's sinking, Quint's gone.

Dylan (01:06:32):
Right Water is that way.
I'm going this way.

Joe (01:06:34):
Yeah, so he closes the door .
He's like.
You know I'm in my safe space.
Yeah, Let me close.
This is going to help.
Yeah yeah, in at the side Right.

Dylan (01:06:48):
When life closes a door, you go through the window.

Joe (01:06:50):
Yeah, that's what the shark did, right, the positivity of
jaws Right.

Dylan (01:06:57):
Life lessons.
Yeah, yeah.
So yeah, it comes through thelike.
That's a good jump scare too,is, is him coming in the window?
Because, like, one minute nojaws, then the next only jaws,
yeah, yeah, yeah and that wasthe thing too.

Joe (01:07:19):
It's like the way they filmed it and all the sequences,
like they had to go back andfilm when they finally got the
shark to work yeah, you knowthey.
They went back to film allthose scenes where they needed
the shark in, but they they kept.
You know all the mystery thereas well.
Yeah, you know.
So it's like the chronology of,or lack of chronology when you

(01:07:42):
film a movie, yeah, and so youget some good shots and, um, you
know, when you actually get the, the shark to?

Dylan (01:07:50):
work, yeah.
So then, like as the orc isgoing down, brody climbs up the
mast and you know he's making alast stand yeah, well, he gets
when he's, when he tries to bein a safe space.

Joe (01:08:08):
He gets to the air tanks, yeah, and then he throws one of
those tanks in the shark's mouth.
Oh, that's right, yeah, andthen he grabs his gun yeah goes
up the mass and just tries toshoot at it.

Dylan (01:08:25):
Yeah, because then kind of in the last scene, you know
you have, you have the sharkcoming straight at brody.
Yeah and, and brody's likewaiting and waiting and I'm
sitting there watching it andI'm like take the shot.
Yeah, yeah, yeah.
You know and he's waiting andwaiting, and he, you know,

(01:08:50):
sights in on it, mm-hmm.
And then, yeah, just smile, youson of a kaboom, yeah.

Joe (01:08:59):
And I just love how, like you know, he does take a couple
shots before that, but like whenthe shark explodes, you almost
see like the upper half of hisjaw, just you know like Just
take off, yeah.
Bye-bye yeah just in bits andpieces.
Yeah, it's like his lower jawwas left, but the rest was just

(01:09:21):
destroyed, you know, just yeah.

Dylan (01:09:25):
And then Hooper comes back after that, you know yeah,
man did absolutely nothing tohelp yeah, yeah, underwater just
yeah, watching, enjoying theview, I guess yeah, well, he had
enough air, you know.

Joe (01:09:39):
But yeah, I just imagined him being under there like
obviously scared but just going,you know, looking from below
and seeing that the carnage, youknow like oh yeah, I think he
killed him.

Dylan (01:09:52):
Oh, this, that's, that's the boat being ripped apart.
Yeah, shredded like paper mache.
Yeah, oh man, just climacticending though, of the shark
blowing up and it's just cloudor shark parts just flying, yeah
mist of shark blood what, whatdo you think you would uh rate

(01:10:15):
it out of like rewatch value?

Joe (01:10:17):
man, uh, are we going like one to five or?
Like four stars, I rate it 18stars yeah let's go to 10 okay,
I think, yeah, that's a goodnumber oh, I think it's a 10
yeah yeah, I mean, I'm not, youknow, I'll be like uh that uh

(01:10:38):
dave the pizza guy, where helike rates things high and then
starts to think about like oh,maybe I should not rate
everything a 10.
But yeah, oh man, let's give itan 8.5.
Okay, yeah, I'll pull it backand give it an 8.5.

Dylan (01:11:01):
Just so that I you have something to go off of.

Joe (01:11:02):
Because all of these movies that we're doing I love and so
I want to give a fair andbalanced rating.
Because, yeah, again, I thinkthe way it's sold and even the
way the book and all the, youjust see a big shark and you

(01:11:25):
just see like this terror, butyou don't see the characters and
like peeling back the onion oflike you know what's going on,
the corruptness in the town.
You know even like going afterthe little kids who are doing
karate.

Dylan (01:11:44):
you know Chopping off the fence posts.
Yeah, they're chopping up whoare doing karate.
You know chopping off the fencepost, you know like I mean
there's just so much.

Joe (01:11:52):
And then, like you see this like little bit of good old boy
, when all these guys startcoming out to you know, and so
there's just, there's just a lotof layers to this town, there's
a lot of layers to thecharacters and how they're built
, and you have like the newschool and the old built, and
you have like the new school andthe old school and you have
just the guy who just wants todo something right, um and and

(01:12:13):
so like there's so much writingand and things built into this
movie yeah that you don't getjust from, like you know, you
know, in a there's one shark One, shark One man, one man, yeah,
which like, yeah, like to touchon, like your layers and stuff

(01:12:34):
like.

Dylan (01:12:35):
I didn't ever think of that, like all of like the kind
of world building that went intoit and like, yeah, it really
does give it like such depth tothe town, yeah, and like you
know everything, the town, yeah,and like you know everything
going on and you know chiefbrody coming in and trying to
solve everybody's problems, andyeah, yeah, yeah, trying to be

(01:12:58):
the problem solver and trying to, you know, and it's hard
because, like you get thisfeeling that he's, he's I'm not
sure if is new, but it seemslike he's new there and like,
yeah, yeah, because I think Ithink they gave a timeframe in
the movie.

Joe (01:13:13):
Yeah, it was like within a year, wasn't it yeah?

Dylan (01:13:15):
Like yeah, very fresh from New York, uh-huh, and you
know he, he wanted to come to asmall town and make a big impact
.

Joe (01:13:24):
Yeah.

Dylan (01:13:25):
Did that.

Joe (01:13:26):
Yeah, and so, yeah, there's so many things, and then again
with the different chapters ofthe movie, that you start off
with this horror genre into thisdrama, into a you know, sea
hero film, you know like goingafter the Leviathan Kraken,

(01:13:52):
Right.
You know, like it's so, solayered.
And I don't think the, I don'tthink the last, and maybe this
is probably good for the film,but I don't think the last
chapters of the film get enoughcredit, you know.
So, yeah, so what would yourate it?

Dylan (01:14:13):
oh, I think, as, like from a first-time viewer,
there's definitely parts thathold up and is just it frames,
you know, cinema going forward,I mean really.
And then there's, like otherparts that, well, you know they
started filming in 75.
So it's showing its age, but Ithink, for you know, for a first

(01:14:38):
time viewer though, I probablywould give it a seven, so but I
mean, do you think that it's amust watch classic.

Joe (01:14:46):
I think it is.
I definitely think it is.
Yeah, I think that's why, likepeople, people watch it and
people talk about it.
I don't think they talk aboutit enough you know, um, and
there are a lot of, you know,directors, cinematographers, who
look at this and the way theyfilmed it, right, the things
that they had to come up with.

(01:15:06):
That's the thing about Spielbergtoo, and we'll see with other
movies is Spielberg and GeorgeLucas all came up with different
ways of filming, whether it'sspecial effects or the way they,
you know, did things like.

(01:15:28):
So, yeah, it's just you know,even though it was filmed in the
70s, it just stands the test oftime.

Dylan (01:15:34):
Yeah, and there's the creativity of all those shots
and you know, like we weretalking, like I was talking
about, you know before, of, likeyou know, seeing like the top
down shot of the, just the sharkunderwater, yeah, and it's like
just I could, I couldn't dothat, I could not, I would not
be able to, you know, be thedirector of something like that,

(01:15:54):
and you know, think of thatyeah, like oh, what if we did it
this way?
and it's like you watch that andit feels so natural, yeah, yeah
, but but then, like you know,just the amount of creativity
that spielberg had, and you know, put into that because it is

(01:16:16):
the 70s and you don't have thecgi right like that we have
today yeah and like a lot of themodern cgi like kind of takes
away from movies and it's likeyou know, there they actually
had to figure it out yeah wewant this shot.
How do we put it together?

Joe (01:16:37):
yeah, yeah, and even using, like, with that small cage and
and filming the actual shark.
You know, going nuts likethey're like this is good.
We need to figure out how touse this.
You know, going nuts likethey're like this is good.
We need to figure out how touse this because you know, right
, and even the scaling thing andhaving a small person, like
it's just how to film things,how to the shots with you know

(01:17:00):
where, you know Brody's watchingthe kid get, you know, killed,
right, and that zoom in shot.
Directors and cinematographersjust look at that as, like, you
know, here's what we should do,or here's what they did, even
the voice over for the trailer.
That was the first time theyactually, you know, had that

(01:17:23):
deep voice.
Oh yeah, it was like theyinnovated that, like the person
who was, uh, doing the, thevoiceover, you know it.
It was going to be a high voice, you know, and I just picture
it being like jaws, you know,coming this summer you know,
yeah, but he was like this istoo.

(01:17:45):
Like even the, the music wasominous and he was like, let's
try it this way yeah yeah, andso they were like yeah, you know
, so that that just you know,made that genre, you know, and
in the trailers and yeah, allthat it's just but yeah, it's
just like going back on the factof, like you know, it's what

(01:18:06):
created that summer blockbuster.

Dylan (01:18:10):
How you know, you know it , that summer blockbuster is
like they didn't really havelike that.

Joe (01:18:29):
We need to get this big thing out during the summer, you
know so that everybody goes andsees it.
You know it's like that pulledso many people and um, they had,
they had posters to where theyhad the picture of jaws eating
other movies records because itwas blowing up so much over the

(01:18:50):
summer.
That's cool.
They would have you know.
I would say the Godfather, or Iwould say that you know, and
he's just like chomping and thenumbers are going in his mouth.
And like you know.
So it just that's cool so everysummer it was like we got it.
We got to get this movie out,we got to get that movie out and
it's adventure or like whateverit is.
So, yeah, it just shaped themovies Well.

(01:19:13):
Thank you for listening to thehave you Seen it podcast.

Dylan (01:19:19):
Yeah, if you have any movie suggestions, you can go
check the socials and links andmake a suggestion down there.

Joe (01:19:27):
Yeah, we're going through some classics first, so we
probably got Back to the Futuresome other good things coming
out, but we definitely want tofocus on the classics first and
then come to any maybe sidesuggestions of maybe things that
people haven't reviewed onpodcasts.

Dylan (01:19:48):
Right, which for spooky season.
We do have some spookier ones,but not too spooky coming up in
the pipeline, so that's going tobe a good watch.
So yeah, if you're headed tothe beach this summer, maybe
just stay on the shore, stay onthe shore.

Joe (01:20:04):
Stay on the shore.